Bonsai Club Dues are $40 per household for the entire year. Please bring payment to the next regular meeting, or if you prefer, you can pay now online using the button below!
Author: Adam LaVail
Bonsai Links
ORGANIZATIONS
American Bonsai Society http://www.absbonsai.org/
Bonsai Clubs International http://www.bonsai-bci.com/
US National Bonsai and Penjing Museum http://www.usna.usda.gov/
Golden State Bonsai Federation (GSBF) http://www.gsbf-bonsai.org/
National Bonsai Foundation http://www.bonsai-nbf.org/
DISCUSSION GROUPS
Internet Bonsai Club http://ibonsaiclub.forumotion.com/
Art of Bonsai Project http://www.artofbonsai.org/
MAGAZINES
Bonsai Focus (English edition) http://bonsaifocus.com/
International Bonsai http://www.internationalbonsai.com/
BONSAI NURSERIES
Dallas Bonsai Garden (Al wire, tools) http://www.dallasbonsai.com/
Adams Bonsai (Cu wire) http://www.adamsbonsai.com/
Deer Meadow Bonsai (Cu wire, plants) http://www.jimgremel.com/bonsaihomepage.html
Bonsai Northwest (Seattle) (plants, pots) http://www.bonsainw.com/
ARTICLES
Bonsai Links
Resources
Organizations
Albuquerque Bonsai Club (ABC) http://abqbonsaiclub.com/
American Bonsai Society http://www.absbonsai.org/
Bonsai Clubs International http://www.bonsai-bci.com/
US National Bonsai and Penjing Museum http://www.usna.usda.gov/
Golden State Bonsai Federation (GSBF) http://www.gsbf-bonsai.org/
National Bonsai Foundation http://www.bonsai-nbf.org/
Discussion Groups
Internet Bonsai Club http://ibonsaiclub.forumotion.com/
Art of Bonsai Project http://www.artofbonsai.org/
Bonsai Magazines
Bonsai Focus (English edition) http://bonsaifocus.com/
International Bonsai http://www.internationalbonsai.com/
Bonsai Nurseries
Dallas Bonsai Garden (Al wire, tools) http://www.dallasbonsai.com/
Adams Bonsai (Cu wire) http://www.adamsbonsai.com/
Deer Meadow Bonsai (Cu wire, plants)http://www.jimgremel.com/bonsaihomepage.html
Bonsai Northwest (Seattle) (plants, pots) http://www.bonsainw.com/
Articles
http://www.evergreengardenworks.com/
http://www.top13.net/suiseki-artists-turn-so-far-unnoticed-stones-into-magnificent-art/
Recommendations for Beginners
Those of you who are completely new to the art have a distinct advantage—you don’t have to unlearn any of the B.S. that floats through the bonsai world all too often. Enjoy your Beginner’s Mind while you can.
First, get a book or two and try to absorb the most basic ideas. The book I like is by Yuji Yoshimura and Giovanna Halford, now called “The Art of Bonsai”. You can get it cheaply used thru Amazon— Unless you’re a collector, why not buy used books that you can beat up??. Note that it used to be called “The Japanese Art of Miniature Trees and Landscapes”— same book. The other great book is John Naka’s “Bonsai Techniques, Vols. 1&2”. These are wonderful books, but are relatively expensive, especially when autographed. If you’re working on the cheap, the Sunset and Ortho paper bounds are very decent, and are almost free on the used mkt. Remember that the club has an extensive library, which Burt quixotically brings to each regular meeting.
The internet is a vast mixed bag. I like a Brit named Graham Potter, who has numerous lessons on many topics. He works on especially good material, which will give you a sense of our main problem, which is the lack of good bonsai material UNLESS you are willing/able to collect. The other guy, who is a part of a New Wave of young hakajin who have been well-trained, is Ryan Neal. We will give you other suggestions as we go.
In terms of supplies, keep it simple at first, unless you are rolling in $$ and have a need to go ape-crap to disguise your insecurities. A decent pointed-nose trimmer, a wire cutter, and maybe a heavier pruning shears will get you going—all available at Wal-Mart. Check and see what the old fools are using at the workshop— we’ll spend some time this Sat on the subject.
Wire for training is important, and not many el cheapo alternatives are available, unless you are among those fine citizens of our State who steal copper, Years ago, copper was the standard, but in the 70’s, anodized aluminum almost totally replaced it. Annealed copper is still the best, but is a lot harder to work with unless you have King Kong hands. Many of us buy aluminum wire from Dallas Bonsai Gardens, who always seem to have the best prices. It’s a helluva lot cheaper in bulk, so maybe we’ll try to make a buy and share. I have a lot of wire, if you need some to do your workshop material.
Remember that most any woody trunked, small leaved material is usable as bonsai stock. Junipers are best to start, though some of you will want to use tropicals that you can keep indoors. I’m not a tropical fan, but the principles are about the same. We’ll teach you what to look for in material— a matter of primary importance.
In NM, it is of paramount significance that you work to provide an environment favorable to the cultivation of your trees. Just about everything that bonsai don’t like is the weather norm here— dry air, strong winds, intense sun, abrupt temperature change, lousy water, etc., etc., etc. If you are unable to negate most of these problems, you will lose interest and go back to your old hobby of psycho-active drugs. There are NO bonsai prodigies— everyone is a geek for a year-or-two, at least. But if you can’t keep plants alive and happy, you’ll have to settle for being a viewer/appreciator, rather than a participant.
—John
Michael’s Soil Tips
Michael is the owner and founder of the Los Lunas based Soil Secrets, and is a master of soil composition. Here are four surprising proclamations to consider:
- Liquid fish fertilizer is bad because of chemical additions used to make it “safe”
- Mushroom compost is bad because of its calcium-producing tendencies.
- Chemical acidifiers are bad because they create more salinity.
- Overusing compost is bad because it tends to boost PH.
There were numerous others which I don’t remember. I AM NOT suggesting that we immediately throw everything away and obey the gospel of St. Michael, and yet… Michael magic potions are available from his nursery, as well as his potting soil for $7.00 a bag.
Fertilizer Basics
The 3 basic components of plant food are Nitrogen, Phosphorus, and Potassium. On all store-bought fertilizers, these 3 will be listed by the N-P-K ratios. Numerous other “trace elements” are blended with these. The compositions, strengths, frequencies of use, and seasonal timing provide yet more tempests-in-teapots for bonsaists to argue about.
Historical perspective: The use of organics is a very long-standing tradition for bonsai, in large part because commercial chemical production is a fairly recent invention. Nearly all old bonsai books advocate a mixture of organics blended together into a kind of dough and placed as small “cakes” on the surface of the pots. One of my earliest duties as a bonsai apprentice was to mix cottonseed meal, blood meal, and bone meal together, using ordinary baking flour as a binder, into a doughy,”earlobe texture” blend, then rolling it into long sausages and slicing it into little pucks. I would let these dry, then put one puck into each corner of the bonsai pot.
There were several problems with this method. Generally, the bone meal as sold in bags was not really very water soluble. As the little cakes melted away, the bone would just lie there. Also, the blood meal was irresistibly attractive to dogs, mice, rats, squirrels, etc. A larger dog would pull pots off shelves to get at it, and smaller dogs would tear into bags and root around in it. If the cakes became rehydrated in the pots, they would soon become fly breeders of epic proportion. The relative ease of fish emulsion was a tempting substitute, or at least an alternating regime, and was/is widely used.
In recent years, commercial compositions have made huge inroads into the sacred organic methods. There are as many preferences as there are individuals. Some of us are high nitrogen advocates. Though this undoubtedly builds strength, it has several drawbacks. N encourages large, rank leaf growth, and long internodes (the length of the branch between leaves). As you veggie growers know, it will also hinder fruit and flower production. In Japan, it is also thought to make bonsai somewhat “course,” which essentially means lack of refined miniaturization on trunks and branches.
Many of us have been going over to high phosphorus blends. The first real advocate for this in the early 70’s was Warren Hill, whom some of you have met. He wrote an article in the yearly California Bonsai Society magazine called ” Phosphorus—The Key to Life and Beauty,” that influenced a lot of us. High P has long been advocated as a Fall food because it strengthens roots for the dormancy period. The iconoclastic Hill wondered why it shouldn’t be used all year.
Much voodoo surrounds the feeding process, which is far more straight-forward chemistry than we’d like to admit. The difference between the holy organics and Miracle Grow, etc. is probably not that significant. I have come to believe that seasonal timing is far more important than we realize here in the desert. Our growth cycles are heavily influenced by changes of light and temperature, and occur in a sort of punctuated equilibrium rather than in a slow, steady pace as in other climates. We get a dramatic, early spring flush, followed by a period of near dormancy during our hottest weather, then another flush as the trees anticipate fall.
I noticed today that my elms have suddenly come back to fast growth now that coolness is in the air. My new method, therefore, is to hit everything pretty hard in early spring with my beloved Tiger Bloom (2-8-4), in 7 day intervals or even more frequently. Then, from June through July I back off and let the trees consolidate their gains. In late August, I start cranking the food again to anticipate the fall, pre-dormancy flush. Some of you even feed through dormancy in reduced amounts, and I’m liking that idea better all the time. Getting those nutrients available before the growth actually begins seems important, as if the tree were pulling strength together for its big spurt.
—John
Bonsai Tools
If you are rolling in the dough, consider going to the top of the heap and buying the venerable Masakuni brand. You will need an 8″ branch cutter, an 8″ wire cutter, and #002 shears. The best source is direct from Japan at Bonsai Network Japan. Each tool is 8,800 yen, which means about $300 for all three, and they will last forever.
Don’t get involved in any “specially made” stuff, though Dr. Martin did go a little above the basic line and bought the coated Masakuni’s, which seem beautiful. There are a number of mid-range Japanese-made brands that are somewhat less, such as Kaneshin and Fujiyama (sold by Dallas Bonsai) that are very good.
My strong recommendation is that you go to Tian Bonsai either on Amazon or on Ebay, and if you can pony-up the $160, buy either set # JTTK-02, JTTK-04, or JTTK 05 (though you will have to add a shears to #5, which has all other cutters you will need for awhile).
If money’s tight, buy any or all of the basic three individuals: Master’s 8″ wire cutter@ $40.00; Master’s 8″ shears @ 38.00; and/or Master’s 8″ Branch cutter@ 38.00. I’d start with a shears, then wire cutter, then branch cutter. The reviews from our Clubbies have been good on these Tian’s, and the Amazon reviews are also good—with a couple of stupid exceptions. “Paul”at Tian is a great guy to deal with, and very fast shipper, as is “Maki-san” at Bonsai Network Japan, BTW.
—John
Masculine & Feminine Aspects Of Bonsai
Masculine Characteristics Of A Tree:
- Formality: Straight trunks, defined foliage outlines, more symmetrical branch balance
- Strength: Powerful rootage, nebari, thick trunk, heavy branches, coarser foliage
- Drama: Sharp, angular movement, dramatic direction changes of trunk line, pointed apex, sharp triangulation of foliage
- Appearance of great age: Rough bark, deadwood, dark colors of bark or foliage
Masculine Pots:
- Angular: Rectangles, squares, hexagons
- Formal: Straight walls, plain feet, no glaze, no decoration
- Strong: Straight lines, clean profiles, heavy textures
- Dark Colors: Earthtones, metallics
Feminine Characteristics Of A Tree:
- Informality: Graceful trunk movement, irreg. outline
- Gentleness: Rounded curves in trunk and branches, soft foliage, rounded masses
- Graceful: Thin trunk, fine rootage 7 BRANCHES, FLOWING LINES
- Youthful vigor: Smooth bark, no jin or shari, light color bark and/or foliage, flowers or fruit
Feminine Pots:
- Curved: Oval, round, lotus
- Informal: Curved walls, tapered outline,decorative designs
- Refined: Smooth textures, glazes
- Light Colors: Creams, pastels, blues, even brighter colors
John’s Soil Musings
“Studying wine taught me that there was a very big difference between soil and dirt: dirt is to soil what zombies are to humans. Soil is full of life, while dirt is devoid of it.” —Olivier Magny: Into Wine: An Invitation to Pleasure
There is probably more opinion/voodoo concerning soil than about anything else in bonsai, and that’s saying something! Nearly every devotee of little trees has a formula which that person asserts is the only mixture that can successfully grow a bonsai; basically, that “My dirt is soil, and your soil is dirt.” I want to give you a little history of the thinking and practice of bonsai mixes, and summarize my most recent experiences.
The original mix used in the US before and after WWII was; 1/3 sandy loam, 1/3 decomposed granite, and 1/3 humus, usually in the form of rotted fir bark which was then available in bags called forest humus. For the Komai Bonsai Nursery, we got the loam from Khan’s cousin who shared the nursery grounds with a small indoor plant wholesale business. Hiro made his soil from some excellent topsoil mixed with various humus components, and a good shot of sand. The granite was obtained by your Humble Narrator, who would take the ancient yellow truck and an assortment of little dogs up into Santa Anita canyon above Arcadia, CA, and scrape the beautiful stuff off the road cuts into trash cans, which then had to be screened of dust at the nursery. We had three big cans of ingredients in the workshop, and we’d mix by upping the granite for conifers, or upping the humus for deciduous, plus the “house mix” of 1/3 ea. for our classes.
I also would take a load of the glorious granite down to John Naka’a house periodically. He used the same basic mix, but substituted oak leaf mold for humus. In the early 70’s, a group of Japanese heavyweights came to LA to demonstrate, took a look at Khan’s soil mix, and rejected it out of hand. To Khan’s astonishment—and testing his cultural need to be a gracious host—the demonstrators went into our large pot room, took about 20 cheaper pots off the shelf, and began breaking them up into small pieces, which became their soil mix with no additions! This was our first exposure to akadama, and it aged Khan about 10 years in an afternoon.
The writing was on the wall. Khan found a source of horticultural pumice in bags that we began experimenting with, since we couldn’t dig decomposed granite fast enough to keep up with demand. When Harry Hirao came up to teach his monthly class, he took one look at the pumice, and bought a few bags, into which he began transplanting his collected California junipers. His success rate improved dramatically, and the era of non-organic soil mixes had begun in earnest. The only thing Khan ever sold in quantities sufficient to justify his hopes for the nursery as a “business” was hundreds of bags of pumice. Though we kept a supply of house mix soil for the beginners’ classes, the more advanced people quickly went to pumice at 100%, or nearly so.
When I came to Socorro, I kept the same loose mix I used in Capitan (elev. 6,500 feet), and immediately started having trouble. I jerked stuff out of the gravel and went, in many cases, out of laziness and not having any “grit” that I liked, to 100% Miracle Grow potting soil, and things improved. In fact, my congenital laziness seemed to be working well.
My current opinion that this eternal fussing over soil mix is yet another fetish, and that other factors are more significant than we imagine. My current practice is to have a series of bags lined-up as follows:
- Green label Miracle Grow potting mix,
- Playground sand, which is a little finer than I’d like, but beware “bedding sand” which is dangerous to both kids and trees,
- Horticultural pumice, which I’ve been buying by the pricey bag at Rheem– we need to make another pick-up run to Espanola,
- Well-rotted humus other than that mushroom compost crap which, like most manure-based stuff is pretty salty, and a few other humus products for experimentation.
I use my Dr. Fox coffee-can scoop, and add stuff as I feel right about it. I also keep a bag of pea gravel for a thin layer over the screen when repotting, mainly out of old habit.
This grit business has led us down many strange paths, and everything from Grape Nuts to kidney stones has been tried. I still love decomposed granite, and we can collect it here, but pumice has a bit of moisture retaining porosity that works best for us. It looks a little bird-poop white on newly potted trees. Several things have NOT worked for me. I’ve come to detest any kind of cat litter or grease sweep, though I see it recommended by bonsai people. Many of you have gone to buying Japanese dirt in the form of akadama, and I would recommend the high-fired variety. The unfired stuff breaks down too fast for my taste. I don’t like Turface anymore, some of the Oregon Mafia have railed against it as too moisture-holding, but we’re a long ways from Oregon, Toto. I just don’t care for it. I’m settled now on pumice, it’s the best thing we’ve got, I believe, and it’s readily available.
Now, what about this dirt vs. soil issue? I think we have not given anywhere NEAR enough consideration to the fact that our mix must become a happy little land, chemically and organically. As you know, when I first heard our boy Mike Melendrez in Las Lunas talk about this, I wanted to have his baby immediately. In retrospect, I may have gone overboard on my worship, like a little girl who gets hung-up on horses. But, it confirmed some ideas which I was not educated enough to articulate. And, many of us have been using his Soil Secrets black goo-goo, and we think we’re seeing good things happening. Fortunately, we have some members who are expert on these matters, and we need to force them to tell us all they know, using violence if necessary. Our soil needs to be seen as a living organism, too, using its constituent physical structure to nurture life, and to hospitably sustain it. Think about this, and we’ll discuss it more in the coming months.
—John
Enemies of Bonsai
The main enemies to keeping bonsai alive in New Mexico are:
- Direct and reflected full sun.
- Desiccating winds, both summer and winter.
- Lack of any meaningful humidity.
There are a few others, like poor (alkaline) water, and extreme temperature variations, often occurring in the same 24 hour period.
Very few plants can handle a full day of Albuquerque summer sun, especially in the afternoon, and especially reflected from walls or fences. You must provide some sort of shade mechanism from about 10:30 am onward, and it needs to be pretty damn thorough. Some of our folks have sufficient large tree growth in their yards to provide dappled sun all day, and it works for them. Most of us require some sort of structure or shade cloth moorings to get the job done. My first effort in Socorro involved wood lattice over a ramada. It did not provide nearly enough protection, and the wood eventually deteriorated from the elements. This year, junior and I got serious and recovered the frame with 90% filter shade cloth, and the difference was huge. Everything we have, including the toughest junipers, are enjoying a far less stressful environment. I have also blocked the S. Western exposure with a new plum tree that really helps, as well. The problem is that a lot of shade cloth is truly ugly, especially in black. I like the looks of those sail-shaped babies though, and they provide an opportunity to create something actually quite beautiful. The cheapest stuff is available at Harbor Freight, they call them “mesh tarps.” I’d suggest doubling them if they’re in full sun. Amazon also has an extensive selection. Some of you have had good success keeping trees on east and north-facing walls which block both sun and wind.
The problem of wind is difficult to solve. I’m currently having decent luck with a layer of bamboo screening mounted against a chain link fence— it’s held up amazingly well for some years, considering the fact it gets a full summer blast from the south. You’re going to have to be creative about this, or it’ll drive you back to your old hobbies of Green Stamp collecting and Zoophilia. I have in the past allowed enough surplus hangover of shade cloth to create a wind block, and have had mixed success. Much of this requires some serious thought as to siting…. best to get it right the first time if you can.
The issue of water is simple to grasp but hard to fix. Nearly all trees do much of their survival work through their leaves and foliage, of course. In our climate, with humidity usually pushing zero, trees need to hunker down for long periods between rains, and wait for the merciful monsoons to get them going again. So, we have the curious phenomena of summer dormancies, and such. I would guess that 80% of all lost bonsai die from water issues. With our coarse soil mixes, it is virtually impossible to over-water outdoor bonsai in ABQ, and I am always terminally skeptical when any of us claims over-watering to be a problem here. So, our trees need copious water both in roots and on foliage. When I water in 95 deg. weather, I soak down everything—- benches, ground, structures, surrounding trees and shrubs, even shade cloth. I have had endless trouble with automatic watering systems, so I don’t really trust them, but I bought a ton of misting- system stuff and would like to see how it works. Do any of you use misters?? Watering is taken with extreme seriousness in Japan—it takes at least a year for apprentices to be trusted with the task. When we are at Queen Connie’s, that is one of the things you all should learn from her—she is a Maniac Master of watering.
— John
Connie’s Commandments
Below is the link to Connie’s “suggestions” for proper tree presentation at the Mothers Day Show. Heed them well.
Leaf Anatomy
Presentation by our resident botanist Karl Horak.
View On Prezi >
Transcript of Leaf Anatomy
Leaf Anatomy
for Bonsai
It’s all about photosynthesis
But what exactly is a leaf?
Evolutionarily, it’s a flattened stem
The key is to look for an axillary bud
What the hell is an axillary bud?
It’s a bud in an axil, of course.
Damn you, botanists… what the hell is an axil?
CO + H O + Light
=
Carbohydrates + O
2
2
2
CO in and O out,
but also H O out
2
2
2
The arrangement of leaves is controlled by auxins and other growth hormones
For bonsai, this is critical because…
That’s where the axillary buds are
and they control the appearance
of secondary branches
And e-vile botanists have
come up with all sorts of
terminology to describe
the results
Bwa-ha-ha-ha!
All these variations are adaptations to deal with photosynthesis: conserve water, absorb light, exchange gases, protect from herbivores, resist disease, etc.
For bonsai, small leaves have the proper scale to
give the desired esthetic effect:
Juniper scales
Short-needled pines
Microphyllous leaves
Compound leaves w/small leaflets
Leaves amenable to size reduction
Lucky for us, leaves are very plastic.
Since they don’t have much to do with
reproduction, they can vary to suit changing
conditions (sun vs shade, wet vs dry, juvenile
vs maturity).
Phyllotaxy is the arrangement of leaves on the stem, usually in a spiral
Except for adventious buds, aka “breaking back”
Remembering Harry Hirao
This great Bonsai Man was the living embodiment of the blessings and pleasures that our little art can bring into one’s life.
Harry was among the last living members of the group of Southern California artists who shared bonsai, at first as their own cultural fellowship, and ultimately as teachers who, much to their surprise, became revered sensei to hundreds of students. Most of them were kibei—US born Japanese who were sent to Japan for their educations—and many of them shared the internment experience during WWII. Many of them became iconic “Japanese Gardeners” and/or nurserymen in the booming world of post-war SoCal. Virtually all of them came under the influence of John Naka, who combined his artistic talents with an obsessive desire to learn bonsai, and together they brought the standards of American bonsai to a new level of possibility.
Harry fit all the above criteria, and really came into his own when the group began to collect California Junipers in the Mojave/High Desert. He fell in love with the desert and spent virtually every cool season weekend of his life out in the sticks looking for trees and rocks. These junipers were a real shot in the arm to US bonsai since they were at least comparable to the fabulous shimpaku junipers of Japan, and existed in the wild by the millions whereas shimpaku had been largely depleted. He soon became known as “the mountain goat,” and it was an apt title.
I met him in 1974, when my teacher, Khan Komai, thought that his advanced students should be exposed to Harry’s skills which were brought to bear on BIG junipers, especially. Khan didn’t care for large bonsai, nor much for junipers , so Harry really blew us away. I hit it off with him from the beginning, for still unknown reasons.
Like most of the kibei, Harry thought in Japanese and his English was very limited. The fact that he was not much into talking, even in Japanese, made every word precious. He never gave a lecture, or even a brief talk. He wanted to wade right in to the trees, and make the rounds at the tables. I did some commentary on his demos, and he seemed to like what I did. Several times he insisted that I narrate his work, and it caused all kinds of political troubles with clubs who didn’t want some huge interloper horning-in on their act. This led to an infamous scuffle over the microphone at a Descanso show—a strange and ugly scene.
You could define a “Master” as someone who, given the student’s lack of experience and his/her self-obsession, can point out a course of action that the student would not otherwise contemplate. By this standard, Harry was a true Master. His ability to find fronts and angles of composition was legendary. He would invariably come up with a viewing point that had never occurred to us. I once saw him take a student’s little one gallon juniper and hold it upside down while he studied it for a long moment. I was never sure what he had in mind there.
He would come up to Khan’s nursery from his home in Huntington Beach one Monday night a month, accompanied by his wife Alice, who taught school in Orange County. She was the archetypal Japanese wife, quiet and unassuming, appearing to be deferential to her husband, but who we knew ran the Harry Traveling Show with an iron hand. At first, she would sit and grade papers or knit, but later my ex, and some other wives and friends, would come along just to shoot the breeze with Alice. She was a rock.
In 1977, Harry decided to start a bonsai club in Orange County to accommodate his ever-enlarging classes. Thus was born Kofu Kai Bonsai, and it took off like a rocket. It almost immediately had a hundred members, and they were a Wild Bunch. For those of you who want to think of bonsai as quiet and sedate, you might not have wanted to mess around with Kofu Kai. That group went everywhere and did everything with a gusto that bordered on the insane. We all got nice, round, embroidered logo patches which I immediately sewed onto my old football jersey. Later, they wore bright blue Hapi coats with the patch, and would descend by the multi-busload on shows and programs all over the west. I was at John Naka’s house one day, and he was clearly upset by the amazing activity of these Kofu Kai’s who outnumbered and out-partied his smaller clubs of West LA. He kept hissing “those damn bluecoats.”
The great sacrament of Kofu Kai was beer. I never went anywhere with Harry and his Tribe that did not offer dozens of coolers well stocked with the sacramental brew. Quiet as Harry was, I can still hear him calling “John! Beer!” about every 30 seconds. He would persist in opening a can and handing it to me when I had just opened one. In 1985, I was more-or-less forced into “A well-known program of recovery” from alcoholism, and in some distorted fashion, I have Harry and Kofu Kai to thank for my new life.
I didn’t see him much when I left California, but George and I made it to his 90th Birthday in 2007—a splended bash in characteristic high style. I saw him and got some visiting time at a Baikoen show in ’08—that was the last time.
Harry Hirao lived the bonsai life at its best. He had no practical ego, yet he was a natural leader. His students would have done anything for him; and with him, nothing seemed impossible. He cared nothing about eminence. He wanted better bonsai and more fun doing it. When you were up in that desert, scouring the Eel River for stones, or sitting with him at a show, you were walking with the king. It was a hell of a feeling. If I can impart to my students even a slice of that confidence and joy that he brimmed-with, I will not have wasted my time on this planet. Get a dose of that Hirao Spirit and go out there and raise all manner of bonsai hell!
—John
Spirit of Bonsai
By Kyuzo Murata
(with condensation and setting by Khan Komai)
The summer of 1975 saw the venerable 73-year old bonsai master, Kyuzo Murata, appear on the scene of American bonsai and move across the country in whirlwind fashion.
He spoke to the people in Japanese with a written English translation following, and everywhere as the cry, “Is there a copy of the talk?”, so much he said seemed so meaningful.
There was no copy of the translation except the one he carried, and it was months later before copies were sent from Japan by Murata long with his permission to use any or all of the material.
To take parts of the talk and call them more meaningful than others may be a sacrilege, but here are some excerpts from the speech.
“Bonsai is living plant transferred to a pot or tray or on a rock or stone so that it can continue to live semi-permanently. It has not only a natural beauty of the particular plant but the appearance reminds people of something other than the plant itself. It could be a scene, a forest, or a part of a forest, a lone tree in the field, a seascape, a lake, a river or a stream or a pond. It is also possible that a certain appearance reminds you of wind blowing over these scenes.
“In Japan the definition of bonsai is to create a natural scene on a tray using plants as the main material.”
“When you take a hachiuye, or potted plant, you can only see ‘prettiness of the plant or flower’ and it does not remind you of anything else. It is possible, however, to change the hachiuye… into bonsai.”
“The art of bonsai was developed in Japan where there were four seasons, clear water and clean air…, a 1500-year history, many old, unchanging traditions and customs. Among all these things the art of bonsai has grown to be what it is today.”
“We must not forget that the unique conception of what we call beauty in Japan is a little different from the western conception of beauty.”
“I do not think that bonsai could have developed or survived in the tropical or frigid zones…. Bonsai’s association with the change of seasons, mountains, valleys, rivers, waters, lakes, storms, gentle winds, rains, snow, frost and many other phenomena is far more important than one can imagine. Japan is one of the few fortunate countries that has all these things.”
“I believe bonsai should not be a mere sketch of a scene or a three-dimensional exhibit from a photograph or a scene. It is… all right to use nature as your subject, but your goal should be a sketch which has been refined and trimmed in your mind before you start creating. Only then can you call it art (and)… bonsai can be defined as a union of nature and art.”
“The Noh play or ballet expresses its movement in a relatively short time, on the other hand, you can hardly notice the slow growth of bonsai. The object of bonsai is to simulate nature. Nature expresses eternity in very, very slow movement and bonsai demonstrates this concept of the slow process of nature.”
“When your concept of bonsai comes this far, then you cannot avoid going into the world of ‘wabi’ or ‘sabi’.”
“It is an almost impossible task to try to explain (the) meaning of wabi or sabi because they are concepts of feeling which were created and actually only felt by the Japanese people over many, many generations and they were unknown to westerners until recently.
“Wabi is a state of mind, or a place or environment in tea ceremony or in haiku. It is a feeling of great simplicity, quiet yet dignified.”
“Sabi is a feeling of simplicity and quietness which comes from something that is old and used over and over again.”
For instance, picture yourself standing at a corner of Ryoanji’s stone garden in Kyoto in the evening in late autumn in a misty rain. You are viewing the garden: the next moment you close your eyes and are deep in thought. Actually there is nothing in your mind. It is empty, and yet your mind, and your heart is filled with a certain contentment. That feeling is wabi.
“I firmly believe the final goal of creating bonsai is to create the feeling of wabi or sabi in bonsai. This is the ultimate goal of the art of bonsai… I cannot help thinking that the essence of philosophy is to seek truth, virtue, and beauty; and it so happens that these are the essence of bonsai.”
“The feeling of wabi or sabi is something almost stoic which eventually leads us to Zen Buddhism.”
“They are not easy going feelings, they are very disciplined feelings. It is quiet but severe. The feeling is common among people who are very religions and people who create bonsai. I think this feeling is love, love for the trees, love for human beings.”
“Bonsai is a strange art wherein one can produce a feeling of reality of nature by manipulation, over a long period of time of trees, stones, rocks, trays or pots. And every bonsai is an original. No two bonsai are alike.”
“You can never finish or complete the creation of bonsai. It goes on and on forever.”
“In the art of bonsai there is no particular school for teaching techniques as you have in flower arrangement…. Limiting your bonsai technique to a certain style is to ignore the physiology of the tree.”
“If you try to enforce your own particular design on a tree without considering its nature, the tree may eventually die. You need to understand this limitation….”
“A truly fine bonsai depends basically on three factors: natural light, air, and water.”
“…trees in bonsai trays… are, I believe the longest living plants which you help to grow and sustain with love and which share your joys and sorrows.”
“They say the life span of an average cherry tree in nature is about 120 years, but it is not rare to see much older cherry trees as bonsai.”
“It becomes a sort of religion when you start loving a bonsai which has a much longer life span than your own.”
“I have been with bonsai every day for the past 60 years, and I come across problems almost every day about fertilizers, about uetsuchi, or soil for planting, about watering, about stones or rocks, about wiring.”
“Recently I have come to my own conclusion that the most challenging technique in the art of bonsai is to transform a most unnatural looking tree into a most natural looking tree.”
“For instance, there is a famous zelkova… created by Mr. Ogata (who)… severed the main trunk… and created a totally new look. When I first saw it at the… Kokufukai Exhibition, I laughed at it, (but over the years it has become) recognized as one of the finest bonsai in Japan.”
“It really is a strange looking tree. You would never find such an unnatural looking tree in the world, yet it looks exactly like a huge zelkova tree standing alone and strong in the field.”
(As in the) art of calligraphy, you can have two ways of writing alphabets, capital letters and small letters. I think we can apply the same variation to bonsai. When you try to sketch the natural scenery, you may use either capital letters or small letters because the basic goal is the same, but your method of approaching this goal is different. This is the area in which you can express your feeling freely.
But “again I wish to emphasize that bonsai is not a mere sketch of nature but a reflection of the heart of its creator.”
“Ladies and gentlemen, please create your own Americanized bonsai and fill this world with peaceful art.”
DeGroot’s Book
Roger Case sends this from the Pacific NorthWET: Dave DeGroot, former curator of the Pacific Rim Collection, and now happily retired, has finally had his follow-on book on bonsai design published by ABS. It’s the best book I have seen on the principles of bonsai design and covers most everything that one would want to know about design and related topics. It’s not a horticultural book (no discussion of soil, etc.), but for all other aspects it is truly superb. I strongly recommend that the club get at least one copy for the library and individuals get one for themselves.
Available here: http://www.stonelantern.com/Principles_of_Bonsai_Tree_Design_p/b1prin.htm
—John
Chokkan: Formal Upright Style
Formal upright is the most fundamental style in bonsai.
- Believed to be the first style
- Difficult to execute correctly
- Not very common style today
- Trunk is straight with gradual taper, front 1/3 to 1/2 exposed
- 1st branch is at 1/4, 1/3, or 1/2 the height of the tree and facing slightly forward
- 2nd branch is on the other side of the tree slightly higher and facing slightly forward
- 3rd branch to the back and same distance from the 1st branch as 1/2 the distance from the first
branch and the pot. - Continue up the tree in the same rotational style getting closer and closer together with the branches.
- Nebari should be all the way around the tree.
WHERE TO PLACE THE FIRST BRANCH?
Fibonacci sequence can be used to determine the height of the tree vs 1st branch location:
1+1=2, 2+1, 3+2=5, 4+3=7, 5+4=9, 6+5=11
Golden ratio is found throughout nature (a:b :: b:a+b)
1.618 (is the rounded off numeric representitive) X 1st branch = tree height
0.618 X height is first branch.
Powerpoint file from Kenn: Chokkan Powerpoint
Bonsai Botany
Presentation by our resident botanist Karl Horak.
View On Prezi >
Plant Anatomy for Bonsai
What is Plant Anatomy?
The internal structure of plants
A Bonsai-centric Overview
Ancient visage
Secondary Growth
Girth only
Primary Growth
Elongation
Hormones
Shoot apices
Propagation
Anatomy is a key to grafting, air layering, rooting of cuttings, “breaking back”
Not to be confused with “Plant Morphology”
The external structure of plants
Usually studied by means of examining thin sections under a microscope
Concentrating here on woody dicots and gymnosperms
Aesthetic form
Longevity and health
Propagation
Secondary growth
Keiseiso (cambium)
Za & nebari
Bark
Jin & shari
Primary growth
Apical meristems
Phyllotaxy & leaf anatomy
Growth hormones
Transplanting
Root structure
Growth hormones
Tsugiki (grafting)
Toriki (air layering)
Sashiki (cuttings)
Fruits and seeds
And why should I care?
Root apices
Auxins
Gibberellins
Cytokinins
Occurs at apices
Intimately related to plant physiology
We’ll save leaf anatomy, photosynthesis, and the whole water balance question until later.
Plus ethylene and abscisic acid, among others
Create a complex set of gradients that control growth and differentiation
Final Words
Plant anatomy involves a lot of strange vocabulary that describes the strange goings-on inside of plants. In the end, understanding the internal structure of our trees makes us better able to produce the living works of art that are Bonsai. From leaf size and shape to branch angles to bark texture, the underlying cellular structure informs the trees that we work with.
Bonsai in March
This is a tricky month. The average high temperature is 59 degrees, and the average low is 32 degrees. The record high is 85 degrees and record low 9 degrees. The average humidity is 38%. The winds are picking up, and we can get very strong gusts. Winds have been clocked at 60 MPH. Keep the trees in the cold frame until the end of the month unless you are repotting, and then return them to cold frame by nightfall. Open cold frame two weeks before bringing out trees.
Watering: Trees in the cold frame will not need much water, but do not let them dry out. Keep slightly damp. One time during the month, water with mild solution of MirAcid again. The trees planted in the ground will need more water; probably once a week , depending on winds. The winds will dry out the soil very rapidly. Water in the morning.
Fertilizing: Start adding some nitrogen in weak solutions. Use some phosphorus for flowering and fruit trees.
Spraying: Spray with dormant spray up to the time deciduous trees are budding. Discontinue after buds appear and control insects with other products. Watch for black aphids now. Check just beneath soil level at base of trunks on fruit and flowering trees for borers. Use borer crystals immediately.
Trimming & Pruning: Prune out winter damage as soon as it can be determined what is alive. Seal cuts not only to keep sap in, but to keep infection out. Save scions for mid-April grafting. Keep in damp paper towels in refrigerator.
Repotting: If buds have appeared on deciduous trees, repot now before the leaves open and before the plant flowers. Evergreens can wait as long as the end of May. If repotted last year, they may not need it this year. This depends entirely on the growth pattern of the species. Place the newly repotted trees back in the cold frame until the first part of April.
Bonsai in February
The last month of the calendar winter. The weather is similar to January. The nights will still be below freezing. Toward the end of the month, there are some warm, balmy, spring days. Close the cold frame or the trees get too warm and start budding. The average high for the month is 52 degrees; average low is 27 degrees. The record high is 75 degrees and record low -6 degrees. Relative humidity around 48%.
Watering: As in January, DO NOT allow the bonsai to dry out. Dormant trees in a cold frame do not use much water. Every ten days to two weeks should be enough, but check every week to be sure. Water trees planted in the ground once a week to ten days when the dirt has thawed, usually around noon. DO NOT water frozen bonsai. Toward end of month on warm days the planted trees may need more frequent watering.
Fertilizing: Once during the month add small amount of MirAcid to the water again and a weak solution (2 recommended) of 5-50-17 fertilizer. No nitrogen yet.
Spraying: Not necessary.
Repotting: At end of month, the warm weather may have started the Japanese Maples and other deciduous trees to swell before budding. If they need repotting this year, do it before the buds open. Put them back in the cold frame after repotting. Prepare soil mixtures for repotting the next two months. If you use any garden dirt, bake it at 150N for 1 hour to kill snail eggs, pill bugs, and weed seeds. Soil mixtures may be found in Naka’s Bonsai Techniques I. Add a bit more peat moss to hold water in our drier climate.
Bonsai in January
This is our middle of winter, and it can get cold. The average high temperature is 46 degrees; the average low is 23 degrees. Records are 69 degrees for the high and -17 degrees for the low. Relative humidity is 53%. On warmer days of 40 degrees or above, the cold frame can be opened to allow circulation of fresh air. Also, a wet snow does them good, but close the cold frame before nightfall.
Watering: Albuquerque’s climate is predominately in Zone 10 and considered high desert which is hot daytime temperatures and cool to very cold nights. The low relative humidity, high altitude, and high winds contribute to the desiccation of container grown trees. DO NOT allow the bonsai to dry out even in winter. Dormant trees in a cold frame do not use much water. Every ten days to two weeks should be enough, but check every week to be sure. Water trees planted in the ground once a week to ten days when the dirt has thawed, usually around noon. DO NOT water frozen bonsai.
Fertilizing: This is a good month to apply a light (2 strength) solution of MirAcid to neutralize the alkaline soil and watering done from the city tap. The “sitting” water barrel is now frozen and inaccessible. Apply fertilizer or any chemical to moist soil to prevent root damage.
Spraying: Dormant spray both in cold frame and in ground if the temperatures are not too severely cold outside. Bonsai may be brought indoors for display for a short period of time, but place them in the coolest place available.
Helpful Equipment: 2 whiskey barrel to let water sit and add conditioners small rose watering can quart sized zip lock bags for soil mixtures
Bonsai in December
This is winter now. Even though some days are fairly warm, keep the cold frame closed. Open it if there is a “warm” snow during the day, but close by nightfall. The average high temperature is 47 degrees; the average low is 24 degrees. The record high is 72 degrees; 3 degrees is the record low.
2015-16 update: El Nino forecasts from NOAA are showing above normal precipitation with normal or slightly above normal seasonal temperatures.
Watering: Water less from now to February, but never let them dry out completely. Trees in a cold frame stay damp longer than those in the ground, and they are not using very much water when they are dormant. Never water trees when they are frozen. Water in the morning so all water can drain from the pots by evening. Water trees in the ground at mid-day about once a week. The ground stays damp under the straw. Check for dryness by inserting your finger in the straw. If dry, water. No fertilizing.
Bonsai in November
The nighttime temperatures are going below the freezing point now. The average high temperature is 57 degrees; the average low is 31 degrees. The record high is 77 degrees; the record low is -7 degrees. Trees should be dormant now and in their winter protection. You may open the cold frame on warmer days and during “warm” snows. Close the cold frame by sundown.
Watering: Water less from now to February, but never let them dry out completely. Trees in a cold frame stay damp longer than those in the ground, and they are not using very much water when they are dormant. Never water trees when they are frozen. Water in the morning so all water can drain from the pots by evening. Water trees in the ground at mid-day about once a week. The ground stays damp under the straw. Check for dryness by inserting your finger in the straw. If dry, water.
Fertilizer: None necessary.
Trimming & Pruning: Remove any leaves left on deciduous trees. Remove any extra long second year needles on pines. Time for second trimming on black pines. DO NOT ATTEMPT wiring this late in the year.
Repotting: DO NOT ATTEMPT to repot at this time.
Bonsai in October
Nights may be too cool now for semi-tropicals. Move deciduous trees to a shadier location to prevent new growth. Watch the weather reports more carefully now. It is common to have an early frost. The average high is 71 degrees; the average low is 44 degrees. The record high is 87 degrees (2015 update: expecting 90° on Oct. 2); record low is 22 degrees. The relative humidity averages 43%.
Watering: You may cut back on water depending of the temperature, but do not let them dry out completely.
Fertilizing: Half normal feeding. No nitrogen. (Check out John’s recent screed on fertilization.)
Trimming & Pruning: Trim strong growth on upper portions of conifers. Trim and clean off dead needles. After leaves have fallen from deciduous trees, it is safe to shorten the year’s growth. Clean all dead leaves from soil. At the end of the month, remove all fruit and any seed pods. The berries may be saved until spring if the tree is healthy. Trees may be rewired for winter.
Winter Care: Prepare the cold frame with snail baits and insecticides; purchase fresh straw. Prepare ground for those bonsai that will be planted for the winter. Leave the trees out as long as possible to insure they’re going dormant normally. Toward the end of the month, remove them from their pots without disturbing the roots any more than necessary and plant the trees in the prepared ground. Sprinkle pill bug bait generously and cover with straw. Those bonsai that are to be stored in the cold frame for the winter should remain in their pots.
Bonsai in September
Days are getting cooler but there are still hot days an it is still very dry (except during the state fair downpours!). The average high is 83 degrees; the average low is 56 degrees. The record high is 98 degrees; the record low is 32 degrees. If freezing weather is forecast, put the trees in the ground.
Watering: You may cut back on water depending of the temperature, but do not let them dry out completely.
Fertilizing: Half normal feeding. No nitrogen. (Check out John’s recent screed on fertilization.)
Trimming & Pruning: Long shoots on new bonsai should not be cut off completely, but slightly trimmed and only after shoot has matured. Some trees will go through a last spurt of growth before going dormant. Remove any wire that is cutting in to bark.
Winter Care: A cold frame is recommended for winter storage of bonsai that need a dormant period. An alternative method of winter care is planting the tree directly in the ground after gently removing it from its bonsai pot. A cold frame should be built on the north side of a building.
Repotting: None.
Bonsai in August
There are usually thunderstorms during the first part of the month. They usually stop abruptly, and the end of the month can be the driest part of the year. The average high is 89 degrees; the average low is 63 degrees. The record high is 101 degrees; the record low is 52 degrees. The average relative humidity is 47%, but remember the higher humidities occur only during the first week or so. Keep rotating trees and checking for bugs, especially snails and slugs. A harder spray of water in the morning can wash some of these pests away.
Watering: Protect from gully-washer thundershowers, but don’t be fooled by a thin layer of damp surface soil. Water every day, twice toward the end of the month. Spray foliage–light misting often. No water late in the evening.
Fertilizing: Light mixtures. Cut back nitrogen and raise phosphorus.
Spraying: Keep bugs under control.
Trimming & Pruning: Be careful about any drastic pruning, especially on flowering trees. Check wires again. Remove any tight wires.
Repotting: DO NOT attempt any transplanting or repotting this late in the year.
Literati – The Poetic Style
Literati bonsai is an “approach” or “interpretation” within bonsai and not a specific style in and of itself. It is somewhat difficult to describe. However, we shall try. Consider the following comments by bonsai artist Harry Tomlinson:
Also called bunjin, this style of tree is often seen at the seashore or in areas where trees have grown up reaching for the light in competition with other trees that have since died or been felled. Characteristically, the trunk line flows or twists through several curves. Some trees grow this way with old age—the Scots pine naturally assumes this style in maturity. Most conifers can be recommended for growing as literati, and rugged deciduous trees such as flowering apricot and hawthorn.
Difficult To Define
Difficult to define precisely, this style breaks many rules but nevertheless the trees have an air of refined elegance. According to Kevin Landdeck at UC Berkeley, the Japanese term “bunjin” is derived from the Chinese “wenren.” which is a term that came into widespread usage during the Song dynasty (960-1278) to refer to scholars (often government officials) who engaged in literary and painterly arts. These men saw themselves as embodying a particular lofty attitude toward the arts, particularly a dedication to the “amatuer ideal” and a naturalistic approach. They disdained and denounced the widespread commercialization of art (i.e., they didn’t like professional painters and took exception to their overly contrived or artificial scenes). Thus, the term “wenren” came to embody an extremely cultivated (but non-commercial!) artistic sensibility that purported to “get back to nature.” In a sense, the “wenren” ideal was a rejection of the profound forces of commercialization sweeping through Chinese society at that time. The slender trees of these “wenren” painters had an abstract, calligraphic quality that was the inspiration behind cultivating bonsai in this style.
Now consider the comments of American bonsai master, John Y. Naka:
The bunjin style of bonsai is so free that it seems to violate all the principles of bonsai form. The indefinite style has no specific form and is difficult to describe, however, its confirmation is simple, yet very expressive. No doubt its most obvious characteristics are those shapes formed by old age and extreme weather conditions.
Trees pictured (in old master sumi paintings) with crossed trunks and branches would be messy and confusing in any other bonsai style, but is acceptable in a bunjin style. On a formal upright style, a branch that returns back to the trunk and crosses it would be unacceptable, and such a violating arrangement would grate against the senses. However, on a bunjin style such a reversal can give an exciting dramatic tension and a freedom to the tree.
Literati Style & Approach
If one were to characterize the literati approach to bonsai desigm one might use words such as: elegant, simplistic, clean, tall, slender or flowing.
In most cases all would be acceptable. A general bonsai canon states that there is “symmetry in asymmetry’ and “balance in unbalance.” If we accept this concept the literati approach to bonsai design becomes easier to understand.
A literati may assume the style of a cascade, semi-cascade, formal upright, informal upright or indeed any of the five basic styles. Its approach can likewise be expanded to include variations on the basic styles such as twin trunk, forest planting, multiple trunk, etc.
The very essence of good literati necessitates a departure or modification (if not a total break) with the traditional bonsai values regarding line, balance and form. It then becomes necessary for the student to have a clear understanding of these concepts and how they work through all bonsai styles in order to find, identify and exaggerate the elements in their material which will best lend themselves to the literati approach.
In a word… If it feels good… do it! But, be prepared to defend your choices on solid bonsai artistic grounds. Although bunjin sometimes reflects the bizarre and unusual, tying your tree in a knot is insufficient grounds for dubbing it a literati.
Suitable Materials
Literati generally focus on the line of the tree and less upon concepts such as mass and trunk taper. A good many literati have very little taper at all, and most have few branches usually located near the top of the tree. Generally speaking, two thirds of the total height of the tree is free from branches. Movement of the trunk can be flowing or angular and you should look for some unusual aspect of the material to feature.
Since a literati trunk usually features quite a bit of movement, Junipers (because of their elasticity) make excellent bonsai subjects. Pine also work well as do a large number of other evergreens. Deciduous species do not work as well because of their tendency to break and for foliage to always assume an upward growing path. This does not mean they won’t work, just that they are more difficult. Don’t be afraid to try. You may be the one to open a new frontier in bonsai design. Remember that the true excitment in a literati design if in the inovative way that it contradicts traditional values. Find the unusual or exotic in your tree and use it to good advantage.
Containers
Because of the movement, single trunk literati usually are planted in a shallow round or oval container. Trays are also acceptable and can be used in conjunction with rock or stone. In the case of ovals or trays, the tree are usually something other than uprights and should be planted somewhat off center. Remembering the rule that literati design should be simple… overly ornate or heavy glazed containers are generally avoided.
Care & Maintenance
Literati bonsai require the same kinds of care as do all bonsai with two small additions. First, because of their “tall” design they tend to be top heavy. In a good wind they can easily blow off a bench. You may want to tie them in place. Second, foliage should be kept relatively sparse. The general elegance of literati design prohibits heavy top foliage on a slender trunk with little taper.
What is Bonsai?
Contrary to what many people think, bonsai is not a specific tree species. Bonsai can be created from many varieties of trees, shrubs, and vines. Both Coniferous and Deciduous trees are used in bonsai. Pine, Maple and Juniper are considered the ‘Classic’ bonsai.
Combining both horticultural and artistic skills the objective of bonsai, regardless of the species, is to create the illusion of fully grown, mature trees in miniature. It involves the bringing of tree(s) and pot together into visual harmony.
Classified by styles, relating to the trunk angle, shape, number of trunks, formal, informal, slanting, cascade or group planting, bonsai vary dramatically in size from tiny shito bonsai trees grown in containers the size of a thimble, to trees requiring several men to move.
A bonsai should have a well tapered trunk and have branches all around the tree aiding to give the bonsai visual depth and ‘beauty’. The lower part of the trunk should be visible and well seated to show its ‘power’.
Wiring branches on younger tress, for as long as needed helps to encourage them to set into desired positions.
Contrary to what many believe, age is not a prerequisite for a bonsai tree. Instead, several techniques can be used to increase the illusion of age. Two advanced techniques, Jin and Sharimiki involve the removal of bark and subsequent carving of the exposed wood create the effect of an ancient tree that has suffered a trauma many years ago.
Bonsai do not differ genetically from trees found in nature. They stay small because they are confined in a container.
Soil
There are nearly as many bonsai soil recipes as there are bonsai trees in the world. It seems that just about everyone has their own mix. The important thing is to find a recipe that works for you and your trees. Your soil mix should provide enough water retention to sustain the tree between watering, yet be loose enough to allow for adequate drainage. You must also consider your fertilizing routine when planning a soil mix. Soil mixes with organic components tend to retain more moisture, as well as retain more fertilizers. This means that if you are fertilizing often then you will need to be careful that you do not overload the soil with fertilizer. Too much fertilizer may burn the fine feeder roots. Inorganic or “soil-less” mixes are another alternative. I’ve been using a soil mix that I adopted from Boon Manakitivipart:
· 1/3 Akadama
· 1/3 Lava
· 1/3 Pumice
· 5% Horticultural Charcoal
· 5% Decomposed Granite
For deciduous trees and trees that prefer more moisture, use a smaller/finer mix with a little more Akadama added to retain more moisture. An inorganic mix such as the one detailed above, allows you to water and fertilize a little more often. Watering more often will help flush the soil of excess salts and other build-ups that may occur from municipal watering. Fertilizing more often will help produce ample growth during our growing season.
“You can grow plants in anything if you change your watering, fertilizing, and other cultural habits to match your soil” ? Brent Walston
There are a number of trace elements that a tree will need to survive. By using a soil-less mix you control when the tree receives fertilizers, vitamins, and minerals. A good way to add the amendments to the soil is with organic fertilizer cakes. Organic fertilizer cakes will have many of the nutrients that a tree will need, and will deliver these on a continual basis with each watering. With a well draining soil mix, liquid fertilizer may be lost too quickly. That isn’t to say that liquid fertilizers shouldn’t be used. Trees such as pines and junipers will do well with an extra dose of an acidic type fertilizer a few times during the growing season. This will increase the acidity level enough for the trees. Since switching to the inorganic soil mix I’ve seen increased root development, and have stronger, healthier trees. In fact, watering has become easier, as it’s nearly impossible to over-water with this rapidly draining soil.
Bonsai Sizes
One of the most convenient and memorable ways to measure the size of bonsai is by hands. That is, how many hands it takes to carry one.
Dai bonsai is a four or more handed bonsai. It takes two or more people to move it.
Chiu is a two handed bonsai.
Shohin is a one handed bonsai.
Shohin is further divided into sub categories: Komono (16″), Mame (5–10″) and Shito (fingertip bonsai, < 3″).
These size descriptions were originally used to design displays based on the size of tatami mats vs. the size of the trees, i.e. how big a room was needed for a tasteful display. We, and the Japanese too, have pretty well ignored this in recent years. So for us, the issues of size are of personal taste, space, handling, expense, and a couple of additional caveats.
Don’t imagine that small bonsai are somehow easier to make and keep—actually the opposite is true. In our high desert climate, the very act of adequate watering in spring and summer make small bonsai an overwhelming challenge for some, not to mention winter care. However, the ease of handling, the relatively lower cost involved in pots and stands, and the ability to have a number of plants in a small area, make the Shoin size very attractive. Shoin fans are a dedicated band of crazies, and are fiendishly loyal to their small world. Only this size generates numbers of specialized clubs and societies, both here and abroad.
Bonsai Master, John Naka has answered a thousand times the question: “How do I make good bonsai?” with “Aquire good material.” It’s less important for us to worry about size than it is to find good material in any size we feel we can handle fairly comfortably.
The ability to see possibility in raw material should generally not be limited by size concerns. Though the Shohin fans might throw some punches over that, the point is not to force preconceptions about size or anything else over your material like some kind of cookie cutter.
A good bonsai creates its own world around it, a world of mass, color, texture, line, and most important, of mood and emotional impact. If the tree has a touch of the magic, size does not matter.
When choosing a bonsai for size, areas of consideration are;
- How much time you can dedicate to your bonsai
- How much space you have available
- Your climate considerations
- Your budget
- Your level of experience
- Your physical strength or accessibility to assistance
In the end, do your research first and value the magic above the category. With just a basic knowledge of size differentiation, you should feel just as comfortable at the next happy hour as you are over a cup of your favorite tea.
Tools
Bonsai Tools
Let’s face it, tools are cool. No matter the occupation, the hobby or the obsession, we all love a shiny set of new tools. But, when it comes to cost, the sky is the limit for even just a single sparkling beauty. However, when it comes to bonsai, if you are smart, you can avoid breaking your bank. With a basic set of tools you can go a long way to create miniature masterpieces. Rules of thumb, get the best you can afford, shop around and ask questions.
essentials:
1) Concave Cutter – This is the essential go to tool for Bonsai cultivation. Primarily, it is designed for removing branches. Concave cutters leave a small indented cut that heals quickly and minimizes scar tissue. A must have. There really is no substitute. An 8″ pair can purchased for as little as $30.
2 ) Wire Cutter – Wire cutters accomplish two things with wire. First, they are used to cut wire into pieces as needed from the rolls. Second, they are used for cutting the wire into links when removing the wire from branch wrapings. Never try to unwrap wire from a tree. Always cut it off. If you are going to attempt to substitute bonsai wire cutters for something from the tool shed, make sure that they are rounded at the top. This will allow you to get as close to a branch as possible while cutting wire and at the same time avoid cutting into the tree.
3 ) Shears (3 sizes shown) – While three sizes are show, for the beginner, one should suffice. Bonsai shears, sometimes referred to as bonsai scissors, are extremely effective at trimming roots, twigs, and branches from your bonsai. If you are on a budget, quality shears or scissors can be obtained at most garden stores.
4) Chop Stick (not shown) – Do not under estimate the value of this seemingly simple and inexpensive tool. It possibly has more potential uses than any other tool in the Bonsai tool box. Some of its uses include; packing soil, to brace a tree, to assist in a branch bend, a water gauge, a soil rake, a root comb, a back scratcher or a nose picker. Or whatever else you come up with. Chopsticks can usually be obtained for free along with an order of your favorite chinese take out. If you use your chop stick as a nose picker, do not share it – thank you.
Nice to have:
4) Leaf trimmer – Bonsai leaf trimmers are also known as bonsai bud snippers or defoliators. They perform the easiest bonsai tree maintenance focusing on the light and delicate.
5) Rake with Spatula – This tool allows the enthusiast to rake and pick root balls apart for a more controlled root trim and repotting.
6) Root Hook – Again, this tool is made to comb through bonsai roots easily. Perhaps if you have a rake, you can for go this tool for now. Another great substitute is running water and your hand.
7) Knob Cutter – A knob cutter is designed to make a concave cut and remove trunk knobs and roots. It produces a hollow, circular cut that heals quickly with a minimum amount of scarring. The cutting head on this tool is on the tip (not the side like concave cutters), which allows you to cut much more forcefully. This makes it an ideal tool to have when cutting, carving, or shaping deadwood.
8 ) Turn Table (not shown) – Bonsai Turntables can get very elaborate. They are used while styling a tree and provide a convenient method for rotating the tree in order to make stylistic judgments. Prices vary wildly on this item. A quick substitute might be a rotating spice rack.
Silly, but fun;
9) Coir Brush – This traditional Japanese tool is for keeping the surface of the soil free of litter without damaging surface roots. But really, it is just a small broom if you really think about it. Or is it?
About Bonsai
Contrary to what many people think, bonsai is not a specific tree species. Bonsai can be created from many varieties of trees, shrubs, and vines. Both Coniferous and Deciduous trees are used in bonsai. Pine, Maple and Juniper are considered the ‘Classic’ bonsai.
Combining both horticultural and artistic skills the objective of bonsai, regardless of the species, is to create the illusion of fully grown, mature trees in miniature. It involves the bringing of tree(s) and pot together into visual harmony.
Classified by styles, relating to the trunk angle, shape, number of trunks, formal, informal, slanting, cascade or group planting, bonsai vary dramatically in size from tiny shito bonsai trees grown in containers the size of a thimble, to trees requiring several men to move.
A bonsai should have a well tapered trunk and have branches all around the tree aiding to give the bonsai visual depth and ‘beauty’. The lower part of the trunk should be visible and well seated to show its ‘power’.
Wiring branches on younger tress, for as long as needed helps to encourage them to set into desired positions.
Contrary to what many believe, age is not a prerequisite for a bonsai tree. Instead, several techniques can be used to increase the illusion of age. Two advanced techniques, Jin and Sharimiki involve the removal of bark and subsequent carving of the exposed wood create the effect of an ancient tree that has suffered a trauma many years ago.
Bonsai do not differ genetically from trees found in nature. They stay small because they are confined in a container.
Bonsai In New Mexico—By Roger Case
I first became interested in bonsai in 1969 after attending the Japanese Obon Festival in Monterey, California, where there was a display of what I believed to be a wonderful group of bonsai. I was hooked, and followed up with a visit to a local bonsai nursery. But this was before I faced the rigors of graduate school!
In 1981 (after graduate school), I settled down in Albuquerque, New Mexico. There, in 1984, I took my first formal instruction in bonsai with the local teaching experts in New Mexico, Buck and Donna Buckholtz. Buck and Donna had both taught basic bonsai classes beginning some years earlier and continued until Buck’s passing in 2004. They taught bonsai for more years than most of my trees have been alive! That was in 1984, but bonsai had been alive (if not in a large way) in New Mexico for many years prior to that.
Perhaps the earliest purveyors of bonsai in New Mexico were George and Laurose Page, who operated a bonsai nursery in Clovis, NM, in the 1960s and 1970s. Clovis is located in the southeast part of New Mexico, on the eastern plains. Its climate is quite similar to that of the west Texas city of Lubbock.
In 1975, a small group of bonsai artists gathered in Albuquerque, then and still the state’s largest city, to form the Albuquerque Bonsai Club. To the best of my knowledge, there was no organized bonsai activity in the state before this time (other than the Clovis nursery). It has been alleged by Anthony (Tony) Mihalic, present owner and proprietor of Wildwood Gardens in Chandon, Ohio, that the Mihalics and Pages used to drive with their bonsai material to many of the southwest and Midwest cities whenever bonsai people got together for conventions or workshops.
However, the Clovis nursery closed in the 1980s, so then there was only 1 nursery with any significant bonsai activity. This nursery was operated by Sam Yamamoto, along with his wife and family. The Yamamoto nursery Japanese Nursery was located in Albuquerque’s North Valley along the Rio Grande River, in Albuquerque. It was here that the Buckholtzs taught bonsai, and where I took my first lessons in 1984 there. The Yamamotos continued operating this nursery until the city of Albuquerque had the land condemned for a bridge crossing the Rio Grande built in the l980s. Today, while bonsai are still sold by Wal Mart, Target, and traveling bonsai vendors (from Dallas and Denver) on street corners in Albuquerque, there is no remaining nursery that specializes in bonsai in the state.
Albuquerque Bonsai Club
The Albuquerque Bonsai Club (ABC) also remains today as the only club in the state, as Albuquerque is the only real area of bonsai activity in the state. Beginning in 1979, Ben Oki was the first bonsai master invited to conduct a bonsai workshop. Since then, other bonsai masters have presented workshops bonsai culture in Albuquerque. Visiting masters have included John Naka, Chase Rosade, Jim Barrett, Hal Sasaki, Toshio Subaromaru, Mel Ikeda, Ray Nagatoshi, Ernie Kuo, Guy Guidry and others. Just two years ago, we were honored with a day and a half visit by Masahiko Kimura who was traveling back to Japan from a convention in Atlanta, Georgia. Mr. Kimura presented a slide show and discussion on bonsai for ABC members and members of the Japanese-American Club here in Albuquerque. As for events, the ABC generally sponsors two workshops a year when visiting masters are brought into the city, and we invite our non-Albuquerque members from locations as far away as Los Cruces, NM to attend.
New Mexico Species and Climatic Conditions
The state of New Mexico has a wide range of climates, with 6 of the 7 climatic zones of the continental USA found within its borders. The Rocky Mountains extend from the north into the middle of New Mexico, with peaks as high as 14,056 ft. In the northern part of the state, there are extensive forests of fir, various 2- and 5-needle pines (including the pinyon pine which yield “pine nuts”).
Below is a list of species native to the state (those marked with an asterisk are known to be used for bonsai in the ABC):
New Mexico Conifers
Abies concolor (Gord. & Glend.) Lindl. ex Hildebr. White fir
Abies concolor var. concolor (Gord. & Glend.) Lindl. ex Hildebr. White fir
Abies lasiocarpa (Hook.) Nutt. Subalpine fir
Abies lasiocarpa var. arizonica (Merriam) Lemmon corkbark fir
Abies lasiocarpa var. lasiocarpa (Hook.) Nutt. Subalpine fir
Picea engelmannii Parry ex Engelm. Engelmann spruce
*Picea pungens Engelm. Blue spruce
Pinus aristata Engelm. Bristlecone pine
Pinus arizonica Engelm. Arizona pine
Pinus arizonica var. arizonica Engelm. Arizona pine
*Pinus cembroides Zucc. Mexican pinyon
*Pinus edulis Engelm. Two needle pinyon
Pinus edulis var. edulis Engelm. Two needle pinyon
Pinus engelmannii Carr. Apache pine
Pinus flexilis James limber pine
Pinus leiophylla Schiede & Deppe Chihuahuan pine
Pinus leiophylla var. chihuahuana (Engelm.) Shaw Chihuahuan pine
*Pinus ponderosa P.& C. Lawson ponderosa pine
Pinus ponderosa var. scopulorum Engelm. Ponderosa pine
*Pinus strobiformis Engelm. Southwestern white pine
Pseudotsuga menziesii (Mirbel) Franco douglas fir
Pseudotsuga menziesii var. glauca (Beissn.) Franco rocky mountain douglas fir
New Mexico Maples:
*Acer glabrum Torr. Rocky mountain maple
Acer glabrum var. glabrum Torr. Rocky mountain maple
Acer glabrum var. neomexicanum (Greene) Kearney & Peebles NM Maple
Acer grandidentatum Nutt. Bigtooth maple
Acer grandidentatum var. grandidentatum Nutt. Bigtooth maple
*Acer grandidentatum var. sinuosum (Rehd.) Little canyon maple
*Acer negundo L. box elder
Acer negundo var. interius (Britt.) Sarg. Box elder maple
Acer negundo var. texanum Pax ashleaf maple
Much of the Northern part of the state is high plains (~4000-5000 ft) with juniper /pinyon savannah covering it. Over the last two years, large stands of pinyon have been killed by the bark beetle and a continued drought.
There are significant rivers that flow in the state, and through the higher semiarid desert regions — the Rio Grange flows through Albuquerque (which is at an altitude of 5000 ft), and the altitude is comparable to Denver but we are dryer and warmer in the summer. Albuquerque is bordered to the East by the Sandia and Manzano mountain ranges. Here many of the species listed above are native.
Local tree species and shrubs that have the potential of being made into effective, attractive and long-lived bonsai include those described above, as well as common, Rocky Mountain, and Alligator Bark juniper, and native Gambel oaks. Local hackberry, mountain mahogany, and New Mexico privet (foresteria neomexicana) are other native species used for bonsai. Some ABS members have successfully grown several species of sages as bonsai as well.
As for to the maple species that do well in New Mexico, there are the standards of Trident and Japanese maples (if shaded well). Some ABS club members have successfully grown azaleas (but only with significant effort and care), cedars, elms, tamarisks, willows, gingko, etc. Acer ginnala does quite well here without much protection and is often used in landscaping instead of Japanese maples – it also adapts well to bonsai culture here.
Growing Conditions
I will focus on the region surrounding Albuquerque, as this is where the main focus of the bonsai activity is located. To the south, conditions are similar if not identical to Tucson, Arizona. As you travel north, you enter the foothills and mountainous regions similar to Colorado with comparable growing conditions there.
Around Albuquerque, the weather is rather warm in the summer (100F and humidity of 10% or less) — the sun is brutal if your trees are left out without protection — they need to be covered and placed often in semi-shade, especially smaller trees. In the winter, we have seen -10, but normal temperatures are in the teens, with limited snow and much sun. There are usually one or two snowfalls of 6-12 inches in Albuquerque each winter, but in general it’s gone in a day or two. Therefore, for overwintering, traditional cold frames are often used. I also build a berm of straw bales and cover some of my trees which are not located in my greenhouse or cold frame for the winter.
The water is alkaline, averaging in the ph 6.5 range, so blueberries are not a species that do well here!
Bonsai Stock & Collecting
To obtain material from which bonsai can be developed, we have been able to obtain National Forest permits (“wildings”) for some areas, but not near Albuquerque where collecting is restricted. Local nurseries provide some sources of materials, as do conventions and mail order nurseries. In some case, we have had visiting masters bring stock material for workshops which also helps.
New Mexico—The Untapped Source
In my opinion, New Mexico is a source of bonsai material that is still untapped – there are wonderful species of juniper and pine, and a number of maples that adapt well to bonsai culture. I look forward to others also discovering the hospitality and bonsai possibilities in New Mexico in the future.
Roger Case is… (Roger Case Bio Here) Roger has been a member of the Albuquerque Bonsai Club since… Article reprinted here by permission of the Author. It originally appeared in the North American Bonsai Federation Newsletter #10.
Resources
Organizations
Albuquerque Bonsai Club (ABC) http://abqbonsaiclub.com/
American Bonsai Society http://www.absbonsai.org/
Bonsai Clubs International http://www.bonsai-bci.com/
US National Bonsai and Penjing Museum http://www.usna.usda.gov/
Golden State Bonsai Federation (GSBF) http://www.gsbf-bonsai.org/
National Bonsai Foundation http://www.bonsai-nbf.org/
Discussion Groups
Internet Bonsai Club http://ibonsaiclub.forumotion.com/
Art of Bonsai Project http://www.artofbonsai.org/
Bonsai Magazines
Bonsai Focus (English edition) http://bonsaifocus.com/
International Bonsai http://www.internationalbonsai.com/
Bonsai Nurseries
Dallas Bonsai Garden (Al wire, tools) http://www.dallasbonsai.com/
Adams Bonsai (Cu wire) http://www.adamsbonsai.com/
Deer Meadow Bonsai (Cu wire, plants)http://www.jimgremel.com/bonsaihomepage.html
Bonsai Northwest (Seattle) (plants, pots) http://www.bonsainw.com/
Articles
http://www.evergreengardenworks.com/
http://www.top13.net/suiseki-artists-turn-so-far-unnoticed-stones-into-magnificent-art/
History of Bonsai
The history of bonsai (pronounced bone-sigh) is cloaked in the mist of the past but it is now widely accepted that it was the Chinese who first created the miniature landscapes and trees that we now know as bonsai. In Japanese, bonsai can be literally translated as ‘tray planting’, but since originating in Asia so many centuries ago – it has developed into a whole new form. Called penjing by the Chinese, bonsai was believed to have had its start in the Han Dynasty. In this essay I will discuss some of the legends and facts surrounding the beginning of bonsai.
One of the earliest Chinese legends contends that it was in the Han Dynasty (206 B.C. – 220 A.D.) that an emperor created a landscape in his courtyard complete with hills, valleys, rivers, lakes and trees that represented his entire empire. He created the landscape so that he could gaze upon his entire empire from his palace window. This landscape form of art was also his alone to posess. It was said that anyone else found in possession of even a miniature landscape was seen as a threat to his empire and put to death.
Another Chinese legend relating to the beginnings of bonsai points to a fourth century A.D. Chinese poet and civil servant named Guen-ming. It’s believed that after his retirement he began growing chrysanthemums in pots. Some historians believe this was a step towards the beginning of bonsai in the Tang dynasty some 200 years later.
The earliest documented proof of bonsai was discovered in 1972 in the tomb of Prince Zhang Huai, of the Tang Dynasty (618 – 907 A.D.) who died in 706 A.D. Two wall paintings discovered in the tomb show servants carrying plants resembling bonsai. In one of the paintings a servant is seen carrying a miniature landscape and in the other painting a servant is shown carrying a pot containing a tree.
Bonsai comes to Japan
Even though it’s the Japanese who get most of the credit for bonsai, it wasn’t until the Heian period (794 – 1191A.D.) that Buddhist monks brought bonsai to the island. For many years following the arrival of bonsai, the art was practiced by only the wealthy and thus came to be known as a nobleman privilege. The fact that the art of bonsai was limited to the noble class almost caused the art to die out in Japan. It was with the Chinese invasion of Japan in the fourteenth century that the art of bonsai started to be practiced by people of all classes. Once the art was practiced by all classes, bonsai began to grow in popularity in Japan. The Chinese influence on the early bonsai masters is apparent since the Japanese still use the same characters to represent bonsai as the Chinese. After the establishment of bonsai in Japan, the Japanese went to great lengths to refine the art and a lot of credit must go to these early bonsai masters. The refinements that they developed has made bonsai what it is today.
Bonsai Comes West
The earliest bonsai to come to the west came mostly from Japan and China. The showing of bonsai at the Third Universal Exhibition in Paris in 1878 and later exhibitions in 1889 and 1900 increased western interest in bonsai and opened the door for the first major bonsai exhibit held in London in 1909. In these early years many westerners felt that the trees looked tortured and many openly voiced their displeasure in the way the trees were being treated by bonsai masters. It wasn’t until 1935 that opinions changed and bonsai was finally classified as an art in the west.
With the end of World War II, bonsai started to gain in popularity in the west. It was the soldiers returning from Japan with bonsai in tow that sparked western interest in the art, even though most of the trees brought home by these soldiers died a short time after their arrival. They survived long enough to create a desire in westerners to learn more about the proper care of their bonsai. The large Japanese-American population was invaluable to Americans in this respect. Their knowledge of the art of bonsai was of great interest ot many Americans learning the art.
Today, bonsai are sold in department stores, garden centers, nurseries, and many other places. However, most of these are young cuttings or starts and not the true bonsai produced by bonsai masters. Most trees purchased today are known as pre-bonsai and are for the most part only used as a starting point. To create a true bonsai work of art you need to learn as much as possible about the art and the trees you use. Information is your key to success and it is important to read as much as possible. It is also a good idea to join a local bonsai club so you are able to discuss the subject with experienced bonsai enthusiasts. As your knowledge and confidence grow, creating your own bonsai works of art will become easier and your enjoyment of bonsai will grow.
From :http://www.celestialbonsai.com/history.html